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A Rare Flower: A Century of Cantonese Opera in Canada
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- May 16 - November 7, 1993 (Gallery 5) and between January 18, 1994 - February 4, 1996 (Traveling)
- Drawing on MOA’s superb collection of Cantonese opera costumes and accessories - one of the oldest and largest in the world...Photographs, newsclippings, and other materials document how Cantonese opera has remained a vibrant art form in Canada from 1880s to today...
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Anonymous Beauty
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Hunt Family Heritage: Contemporary Kwakiutl Art
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- May 26 – August 30, 1981 (Gallery 5)
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Multiplicity: A New Cultural Strategy
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- December 14, 1993 - May 22, 1994 (Gallery 5)
- Guest Curator Robert Houle, Salteaux, presents artworks created as multiples, or works in series, by seven First Nations artists from Canada and the United States: Mary Anne Barkhouse (Kwakwaka’wakw), Dempsey Bob (Tahltan/Tlingit), Fay HeavyShield (Blood), Jaune Quick-to-See Smith (Flathead), Arthur Renwick (Haisla), Greg Staats (Mohawk), and Kay WalkingStick (Cherokee).
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A Green Dress: Objects, Memory, and the Museum
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- September 27, 2011—April 8, 2012 (The O’Brian Gallery)
- Do objects remember? Or are they wrapped in the memories we bring to them, like layers of stories folded around a picture, a voice, or a worn-out shoe? In this exhibit, created to complement ひろしま hiroshima by Ishiuchi Miyako, opening in The Audain Gallery on October 13, visitors are invited to experience selected objects and media from MOA’s worldwide collection. Some are ancient, some are new. Some are inscribed with their histories, while others are uprooted – their origins, makers, and journeys erased or forgotten. Some, like the green dress of the title, speak to memories and relationships not contained by the Museum but still part of living communities. Please join us for this intimate, yet revealing, look at the collections, curated by Karen Duffek, Krisztina Laszlo, Carol Mayer, and Susan Rowley.
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Kesú: The Art and Life of Doug Cranmer
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- March 17 - September 3, 2012 (The Audain Gallery)
- CURATOR: Dr. Jennifer Kramer; MOA Curator, Pacific Northwest, and Associate Professor of Anthropology at UBC
- Northwest Coast Kwakwaka’wakw art is renowned for its flamboyant, energetic, and colorful carving and painting. Among the leading practitioners was Doug Cranmer (1927- 2006), whose style was understated, elegant, and fresh, and whose work quickly found an international following in the 1960s. He was an early player in the global commercial art market, and one of the first Native artists in BC to own his own gallery. A long-time teacher, he inspired generations of young Native artists in his home village of Alert Bay and beyond. The exhibit shows a wide range of Doug’s artistic works in two and three dimensions in wood and paint, from totem poles, a canoe, masks, bentwood boxes, bowls, and prints, to his important “Abstract series” of paintings on mahogany plywood. Works and words by his students are also included in the exhibit, which is organized as a series of overlapping modules that reflect different aspects of the artist’s life and work. Dr. Jennifer Kramer, MOA Curator, Pacific Northwest, and Assistant Professor of Anthropology at UBC, curated the exhibit, and authored the accompanying book, which is available in the MOA Shop.
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Encounter 1778: Drawings, watercolours, and sketches by John Webber at Nootka Sound
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- March 28 - July 2, 1978
- Student exhibition
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New Visions: Serigraphs by Susan A. Point, Coast Salish Artist
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- January 2 - March 30, 1986
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Traditional East African Medical Beliefs and Practices
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- January 25 - 29, 1978, Hotel Vancouver.
- An exhibition prepared in cooperation with the Hannah Institute for the History of Medical and Related Sciences.
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From Under the Delta: Wet-Site Archaeology in British Columbia’s Lower Mainland.
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- March 1995 - March, 1999
- This exhibition features rare preserved wood and bark objects dating from the past 4,600 years, most of which have never before been on public view. In consultation with local First Nations, guest curator and archaeologist Kathryn Bernick developed the exhibition with Ann Stevenson, MOA’s Collections Manager, to illustrate unique information about traditional fishing, woodworking, and cordage technologies and to explore cultural resource management issues.
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West Coast Graphics: Images of Change
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- March 28, 1980 - September 30, 1981 (Theatre Gallery)
- Student exhibition
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A Coat of Many Colours: Two Centuries of Jewish Life in Canada
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- September 6 - November 17, 1991 (Gallery 5)
- The history of the Jewish experience in Canada was brought to life with 300 objects, from the common to the extraordinary, and the personal stories of individuals, from the famous to the unknown. The exhibition explored relations between Jews and non-Jews in Canada-relations that have been touchingly warm and disturbingly harsh. By mirroring the experiences of other ethnic and cultural communities in Canada, “A Coat of Many Colours” offered visitors a very timely understanding of the strengths of our national cloth.
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Cannery Days: A Chapter in the Lives of the Heiltsuk
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- May 18, 1993 - January, 1994 [Spring 1998 - August 1998] (Theatre Gallery)
- Student exhibition: Pam Windsor, Heiltsuk woman, curator and graduate student in anthropology, challenges stereotypes of First Nations working women, particularly in male-dominated industries like fishing and fish processing.
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Inside Passage: 1792
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- September 14, 1993 - February 27, 1994 (Gallery 10)
- Guest curators Cole Harris and Robert Galois trace the British and Spanish expeditions through British Columbia’s Inside Passage.
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High Slack: An Installation by Judith Williams
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- June 21 - December, 1994
- ‘High Slack’ is the moment when the tide has risen to its highest point before the ebb. Vancouver artist and UBC Fine Arts Professor Judith Williams sees this pause in the tides as a metaphor for a moment of calm in the social current. The installation of paintings, sculptures, photographs and bookworks at MOA is a series of proposals for future directions in our relations to the “other,” whoever, and whatever that might be. This exhibition is not a statement; rather, it provides an atmosphere for contemplation and change.
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Masterworks of Haida Artist Bill Reid
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- Opened June 28, 1994.
- This spring, MOA’s collection of Bill Reid’s masterworks in wood, silver, and gold will be placed on permanent display.
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Alice, Donna, Helen, John and Adam by Sally Michener
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- March - April, 1994. Placed on permanent display September, 1994.
- Five life-sized figures of coloured fragments of ceramic tiles and mirrors will go on permanent display in MOA’s lower lobby. Michener says, “I have used ceramic and glass fragments or shards to piece together some ideas and images about living.”
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Frog Constellation by Haida Artist Jim Hart
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- June - July, 1995
- This monumental cedar sculpture stands over 15 feet high and features male and female figures standing upon a giant frog. The sculpture symbolizes a Haida origin story of the Frog crest, one of four crests which Jim Hart has the right to use. The male figure captures the moment of transformation between from and human form. The sculpture was commissioned by Westminister Management Corporation and Bentall Corporation and is generously on loan to the Museum.
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Echoes '96
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- April 12 - May 31, 1996
- Student exhibition: This exhibit features ceramic works by students from Emily Carr Institute of Art and Design. Using the museum’s collection as a resource, they examined the social, technical and artistic history of ceramics, and each produced for this exhibit a ceramic piece that echoes a past technology, form, decorative technique or iconographic message. The exhibit is the result of a collaboration between the museum and the Emily Carr Institute of Art and Design.
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Heredity: Hereditary Chiefs of the Haida
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- April 28, 1998 - February 21, 1999
- This exhibit comprises eleven photo-based artworks depicting contemporary Haida hereditary chiefs. Accompanied by voice and text layering, this series by artist Todd Tyarm explores the idea of heredity as a virtual link between present and past, as well as to the future. The chiefs depicted in this exhibit are individuals who represent a crucial conduit for their communities to regain the traditional values, practices, languages, and ways of thinking that have shaped their cultural identities from the beginning. The “Heredity” exhibit offers insight into both the heritage of the Haida, and the thoughts, names, and stories of the people who represent its living legacy.
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